Reviews


The Who Are Better You Bet!

Thursday, November 15th, 2012 by The Professor

Daltrey’s vision of a modern-media Quadrophenia is a surreal sensation on stage

-by Radio RockonTour host Timothy Tilghman

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Just where have these two guys been hiding? Roger Daltrey and Pete Townshend are touring behind a fourth generation staging of Quadrophenia and the Whuo Duo have never sounded better! Their Tuesday night performance in Washington, D.C., rivaled the magnificence of their singular May 2004 date in NYC. Cancel all the catty criticism about The Who. This revised touring version of the British legend’s 1973 Opus is really the real deal.

Maybe fan anticipation in the aftermath of their last outing in the USA from the 2006/2007 Endless Wire Tour kept expectations artificially low. The Who’s November 13, 2012 appearance was an incendiary affair with the team of musicians firing on all musical cylinders. Celebratory praise does not efficiently describe the intense level of satisfaction the unit generated in concert.

Townshend’s first major musical piece was the Rock Opera Tommy, released in 1969. His next group proposal was the aborted Lifehouse project in 1971, which eventually morphed into the generic Who’s Next album. Townshend’s preoccupation with the quintessentially British battle between the Mods and the Rockers during the early 1960s provided him with a musical vision as the basis for his 1973 theme-album Quadrophenia.

The tale of a Brighton teen torn by four personalities was actually a composite reflection of the four musicians that once constituted the original members of The High Numbers. Townshend’s fictional anti-hero turns 40 next year. Quadrophenia was eventually made into a 1979 cinematic presentation staring Police bassist Sting as Ace Face.

Early Who singles were styled as recordings for the popular Mod market genre. Competing contenders as British Mod outfits were both The Kinks and The Small Faces. Ringo Starr may have delivered the best line in 1964 about the Mod lifestyle confrontations in the film A Hard Day’s Night when asked by a female reporter if he was a Mod or a Rocker. Starr replied, “I’m a Mocker”.

Both Roger Daltrey’s vocals and Pete Townshend’s vocals were exceedingly stronger than during the course of the last Who tour. Plus, Townshend’s forceful guitar assault eclipsed his playing style from the Endless Wire shows. The core band consists of Zachary Starkey on drums, Simon Townshend on guitar, and Pino Palladino on bass. The touring ensemble includes John Corey and Loren Gold on keyboards, Reggie Grisham and J. Greg Miller as the Brass Section, and Frank Simes on guitar.

As a value-added bonus, The Who continued the concert without hesitation by segueing directly into five major Who classics sure to make the most loyal Who fan salivate for more musical treasures. Two incredible highlights were the inclusion of John Entwistle’s bombastic Bass solo during “5:15”, and Keith Moon’s humorous vocals spliced into “Bell Boy”. Daltrey labored to interject these live archived sequences into the Quadrophenia + More Tour production, and Townshend personally recognized Roger for his efforts to create both poignant segments before their lone encore together.

The Who, Verizon Center, Washington, DC, November 13, 2012 setlist: I Am The Sea * The Real Me * Quadrophenia * Cut My Hair * The Punk Meets The Godfather * I’m One (At least) (Pete Townshend vocal) * The Dirty Jobs (Simon Tonwshend vocal) * Helpless Dancer (Roger’s Theme) * Is It In My Head * I’ve Had Enough * 5:15 (Entwistle bass solo) * Sea And Sand * Drowned (Pete Townshend vocal) * Bell Boy (Keith’s Theme – Moon’s vocals) * Dr. Jimmy (John’s Theme) * The Rock * Love, Reign O’er Me (Pete’s Theme) * Who Are You * Behind Blue Eyes * Pinball Wizard * Baba O’Riley * Won’t Get Fooled Again * Encore: Tea And Theater



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Breakfast on the Road: Roger Hodgson Live

Monday, November 12th, 2012 by The Professor

Legendary composer Roger Hodgson is entertaining enthusiastic audiences

– by Radio RockonTour host Timothy Tilghman

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Roger Hodgson formerly from Supertramp is currently embarking on his first solo tour featuring an outstanding support band. The backing musicians include Kevin Adamson on keyboards, David Carpenter on bass, Bryan Head on drums, and Aaron MacDonald providing his talents as a multi-instrumentalist embellishing the Hodgson compositions on stage.

Hodgson’s popular Breakfast In America Tour arrived in Shippensburg, Pennsylvania, on Friday, November 9, 2012. The band sounded flawless in performance as if it was practically studio perfect. The modern wonders of technology breathe inspired life into the classic Supertramp catalogue penned by Roger Hodgson. One is left to image what The Beatles might have achieved soundwise if this state of the art equipment had been available to them on tour almost five decades ago.

Hodgson himself segued between keyboards, a 12 string acoustic guitar and onto Grand Piano in sharing his musical gift with the Franklin County crowd. Without question, the exceptional level of musicianship presented by Hodgson and company simply topped off the scale. The sparse stage motif left the music to do all the convincing that if you missed Breakfast, then you missed the most important musical fuel out on the touring circuit.

Blending his Supertramp singles with choice solo material selections, the Grove Theatre patrons erupted in appreciative applause throughout the evening. It’s wonderfully rare that a seasoned artist delivers an entire repertoire at such high caliber. The positive impact of love as a powerful theme in music is truly compelling. The Shippensburg venue is a fantastic facility to enjoy intimate concerts, and Hodgson was well suited to appear here.

Hodgson prefaced many of his songs by revealing personal insight into composing his material. He sang four stellar tracks from the 1979 classic album Breakfast In America. A real treat was hearing “The Awakening” accompanied on his 12 string acoustic guitar, an unrecorded tune that Hodgson said is an invaluable lesson about forgiveness. The beautiful melody and touching sentiment exemplify his hallmark traits as a quality composer among his celebrated peers.

Although the ecstatic audience stood up for several standing ovations during the evening performance, it was at the end of the night that Hodgson encouraged his fans to enjoy themselves by standing and clapping along with his second encore. As the lights went up so did the house in unison as Hodgson launched into “Give A Little Bit” ensuring everybody was motivated by its infectious chorus.

Grove Theater, Shippensburg, Pennsylvania, November 9, 2012 setlist: Take The Long Way HomeSchoolIn JeopardyLovers In the WindHide In Your ShellEasy Does ItSister MoonshineBreakfast In AmericaLady * Rosie Had Everything Planned * The Logical Song * intermission * Child Of VisionLord Is It MineDeath And A Zoo * If Everyone Is Listening * The Awakening * Don't Leave Me NowDreamer * Fool’s Overture * Encore: The Two Of Us * Give A Little Bit



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The Scottish Firecracker: Sheena Easton Live

Monday, October 22nd, 2012 by The Professor

Sheena Easton graces an intimate stage in Hanover

-by Radio RockonTour host Timothy Tilghman

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`80’s singing sensation Sheena Easton came to Hanover, Maryland, on October 18, 2012. All dolled up in a tight black pantsuit, she no longer flaunts her sexy attributes, now projecting a subtle matronly image on stage these days. However, her accent is just as saucy and alluring still fueling Easton’s ageless feminine magnetism.

Not exactly a disco-pop-rocker these days, Easton has switched stage gears appearing as a casual cabaret act. Joe Sparker is the tour’s musical director handling keyboards and backing vocals. Her support musicians are Dave Hart on guitar, Eric Tewalt on Saxophone, flute and backing vocals, Phillip Ingram on vocals, and hometown champion Earl Campbell on drums.

Easton jovially interacted with the house crowd talking openly about herself, her popular singing career, and her displeasure about aging with her 54th birthday looming soon on the horizon. She eagerly thanked everyone for coming out on a school night to party with her in concert. After she paused in performance to sip her tea, she quipped it was from Long Island.

Easton’s repertoire contained several cover songs. She even commented herself confirming that it had been quite a while since she had a hit single cresting on the top of the charts. Both Easton and Phillip Ingram shared duet vocals on a couple of love ballads together. Her engaging personae was sprightly and sparked spontaneous laughter throughout the Thursday night with her loyal fans.

Easton polled the patrons on whether she should sing her slutty songs on stage. They roared in approval for her to do so. Unfortunately, her lackluster dance-beat medley of “U Got The Look”, “Sugar Walls” and “The Glamorous Life” was rather disappointing in delivery. It was her signature Top 40 hits that were the highlights of her appearance. The vivacious “Strut”, “Morning Train”, and 007 classic “For Your Eyes Only” were truly the tiptop tunes of the entire evening.

Rams Head Center Stage is essentially a brand new venue that opened recently in Anne Arundel County. However, there were some impaired visual blind spots depending on far from center view one was seated inside. The show went on too quickly really, but a splendid time was had by all, and her audience clearly enjoyed themselves seeing their beloved icon.

Sheena Easton, Rams Head Center Stage,  Hanover, Maryland October 18, 2012 setlist: (Your Love Keeps Lifting Me) Higher And Higher * Almost Over You * The Lover In Me * How Deep Is The Ocean * How Sweet It Is * U Got The Look > Sugar Walls > The Glamorous Life * We’ve Got Tonight * Strut * In The Winter * Say A Little Prayer > House Is Not A Home > One Less Bell To Answer * Telefone (Long Distance Affair) * 9 To 5 (Morning Train) * Anyway * For Your Eyes Only



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Narcissist R Moi: Madonna Live

Tuesday, September 25th, 2012 by The Professor

The Material Maven is fixated on a steroid-hyped episode

-by Radio RockonTour host Timothy Tilghman

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What’s gotten into the once virginal Material Girl? Madonna appears to have leapt totally over the top with the peculiar excesses on her 2012 MDNA Tour. Louise Ciccone has retooled her stage personae into that of an over-sexed gansta moll with a bustling ensemble cast in tow gleefully choreographing her rapid descent as a bargain-basement carbon copy of her former celebrity status. How quickly self-consumption can ruin a reputation.

Madonna gave the first of two capacity-crowd concerts Sunday night in Washington, D.C, on September 23, 2012. Tickets were not all that hard to come by out on the walk. Finding a below market-priced seat, however, was a tricky proposition. It seemed the younger you were, the more you were apt to enjoy the exaggerated stage production concocted by Lady Madonna. To beleaguer matters, the Voguestress did not open the show until 10:30 pm. The dreaded end did not occur until after midnight at 12:25 am!

One major disappointment with her 2012 tour is the fact that Madonna rearranged many of her songs altering the structure of her familiar hits. Loyal fans wanna hear what they remember as the song on the radio or on the record. Significantly reconstructing established material is rather a turnoff for seasoned fans. This fact can actually dissuade the overall mood of an audience expecting to be entertained.

Curiously, there were rather subtle similarities between Madge’s 2012 stage romp and Pink Floyd’s The Wall if you knew what to recognize among the changing staging. The engine roar of a helicopter in flight, an image of a large white-bricked Wall, and a small furnished bedroom in the Paradise Motel wherein Madonna is confronted a masked menace attempting to molest her during “Gang Bang”.

Our tramp-vamp found herself under assault in a dingy urban flat brandishing a silver pistol. The two commence in struggle, and Madonna capped the violent intruder complete with several blood splatterings that appeared on the jumbotron for maximum effect. Why all of this gratuitous violence? What purpose does fabricated turmoil serve to promote her stage act? Whatever Maddy was trying to convey visually made no connection whatsoever.

The Cougar may only be 54, but Madonna demonstrated she is ready for action. Flaunting her flourishing sexuality like an aging brothel Madam, her sexually aggressive antics were borderline comical when she revealed her round buttocks wearing a black G-string thong! In an interactive burlesque sequence, she knelt before a male audience member and asked him to write on her back what he thought about her. He scrawled the word SEXY on her bare back to the approval of the randy spectators.

Madonna is desperately seeking for a measure to remain relevant in today’s youth-driven music scene and with today’s fickle downloading public. Performing at the 2012 Super Bowl 46 Half-Time gig was an overdue career pinnacle. No popular female artist has held onto the fascination of Americans for as long as Madge has. Hopefully, Madonna will be able to continue creatively and record more commercially viable albums that score on the charts in the future.

Madonna, Verizon Center, Washington, DC, September 23, 2012 setlist: Transgression: Gregorian Chant Virgin Mary Intro (with Kalakan + with snippets of “Lekhah Dodi” and “Birjina Gaztetto Bat Zegoen”) * Girl Gone Wild (with samples from “Material Girl” and “Give It 2 Me”) * Revolver * Gang Bang * Papa Don’t Preach * Hung Up (with samples from “Girl Gone Wild”) * I Don’t Give A * Prophecy: Best Friend (video interlude; with samples from “Heartbeat”) * Express Yourself (with snippets of “Born This Way” by Lady Gaga and “She’s Not Me”) * Give Me All Your Luvin’ * Turning Up the Hits: (video interlude; with samples from several Madonna songs) * Turn Up The Radio * Open Your Heart (with Kalakan + with snippets from “Sagarra Jo!” by Kalakan) * Holiday * Masterpiece (with Kalakan) * Masculine/Feminine: Justify My Love (video interlude) * Vogue * Candy Shop (with samples from “Ashamed Of Myself” by Kelley Polar + snippets of “Erotica”) * Human Nature * Like A Virgin (with samples from “Evgeni’s Waltz” by Abel Korzeniowski) * Love Spent * Celebration: Nobody Knows Me (video interlude) * I’m Addicted * I’m A Sinner (with Kalakan + with snippets of “Cyber-Raga”) * Like A Prayer * Encore: Celebration (with samples from “Girl Gone Wild”)



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How To Dress Well – Total Loss [2012, Acéphale]

Monday, September 24th, 2012 by Eric Loose

There’s a moment on the vigorous “& It Was You” when it all becomes inescapably clear: Krell has officially transcended all those pesky comparisons that have simultaneously crippled his How To Dress Well project as well as catapulted it into indie-fame. His peers like Justin Vernon (another beautiful falsetto voice shrouded amid a blanket of fog) and Abel Tesfaye (an Rn’B aficionado who isn’t afraid to use old-school hip-hop beats to give his choruses a little more punch) and even dubstep-hero Burial are all touchstones for breakthrough album Love Remains, and rightly so. That being said, it’s heartening that Total Loss is a more distinctive step past comparisons into territory all his own. (more…)



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Refueling the Blues: The Yardbirds Live

Friday, September 14th, 2012 by The Professor

The Yardbirds forge ahead with another incendiary appearance

– by Radio RockonTour host Timothy Tilghman

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The Yardbirds are distinctly British and their signature brand of live Rhythm & Blues is a combination mixture of psychedelic rock, instinctive musicianship, and traditional blues jams. But do not discount the occasional all-out rocker, as these gents know how to launch their performance into high gear on stage.

Drummer Jim McCarty is now the final remaining original member of the British Invasion quintet that ignited in 1963. As the group was preparing to return home at the end of their 2011 tour, Chris Dreja suffered an unfortunate stroke and has been sidelined from stage duty since then. Thankfully, Dreja’s unique rhythm guitar style was archived for posterity on the live performance DVD recently released by The Yardbirds.

Lead guitarist Ben King, vocalist Andy Mitchell, and bassist David Smales now form a formidable quartet along with seasoned drummer Jim McCarty anchoring their sound. With both imagination and inspiration, the four of them have been able to transform the band into a stronger unit even in the face of losing Dreja as a key player in their stage act. Best wishes for a healthy recovery are sent to Chris Dreja for his improved well-being.

Several stage staples reappear in the 2012 repertoire. The classic blues covers never grow stale and King’s fierce fretwork never disappoints even rivaling the mastery of former Yardbirds guitar icons Eric Clapton, Jeff Beck, and Jimmy Page. This young man has fire in his fingertips and his lead licks are hotter than friction. King keeps the sharp sound on edge with his ability to intensify the resonance of his guitar leads.

Almost exactly one year to the day, The Yardbirds jammed effortlessly in Annapolis, Maryland on September 12, 2012. There were a handful of subtle changes in the Rams Head On Stage setlist but overall, Mitchell nailed down the spotlight and belted out the blues with gusto. McCarty sang lead vocals on “Back Where I Started”, a 1984 Box of Frogs track from a previous reunion project. Smales’ choice bass playing is always a sincere treat.

The big surprise of the Wednesday show was the first encore delivered on solo acoustic guitar by King. Ben parked himself on a stool and performed the 1967 Page-penned instrumental “White Summer” with subtle support from McCarty; truly an excellent highlight. Later while signing autographs after the concert, Yardbird members confirmed that the band has been rehearsing original material to record another new studio album in the near future.

The Yardbirds, Rams Head OnStage, Annapolis, Maryland, September 12, 2012 setlist: I'm Not TalkingDrinkin' Muddy WaterHeart Full Of SoulTrain Kept A Rollin'The Nazz Are BlueFive Long YearsShapes Of ThingsBack Where I StartedOver Under Sideways DownSmokestack LightningStill I'm SadLittle GamesFor Your LoveHappenings Ten Years Time AgoDazed And Confused * Encore: White Summer * I'm A Man



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Silopanna 2012 – A Review of Sorts

Wednesday, August 15th, 2012 by Christa Constantine

 

Silopanna Festival was this weekend, so two amazing WLOY volunteers – Tenley, our photographer, and Brennan, our field reporter – and I took the trip to Annapolis to check out the set. The festival had a sort of mature feel to it; most of the attendees were older, and many were hippies. As we walked around, we took note of the atmosphere, highlighted by a giant lumberjack statue at the front of the fairground, public cornhole games, and Bud Light Limes.

We all know the headliners – CAKE, Citizen Cope, G. Love & Special Sauce – but what we were really looking forward to was the local acts. However, being three different people, we fittingly formulated three different accounts of the day, translated below.

Christa:

Most Anticipated: Sweet Leda.  They played at Loyola back in the spring as part of WLOY’s Thursday night concert series, and I was looking for something even fuller and more fun than what they had to offer last semester.  And, with easier access to booze, I anticipated some awkward onstage banter as well.

(more…)



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Boogie Woogie Down the Stairs Apiece: Charlie Watts Live

Sunday, July 1st, 2012 by The Professor

Alex, Ben, Charlie & David move to the Boogie Woogie mood

– by Radio RockonTour host Timothy Tilghman

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Boogie Woogie music is enjoying an overdue rebirth with the fabulous talents of Alex Zwingenberger and Ben Waters on piano, Charlie Watts on drums, and David Green on upright bass. Together, this quartet is touring as the A B C & D of Boogie Woogie entertaining audiences on both sides of the Atlantic pond in celebration of 85 years of this unique piano style.

The ABC&D of Boogie Woogie proudly premiered in New York City with a grand total of nine gigs delivering a most memorable evening of magical music on Saturday, June 30, 2012, at the Iridium Jazz Club made famous by the late guitarist Les Paul located in Times Square.

ABC&D welcomed the preeminent American Boogie Woogie pianist Bob Seely on stage to play dueling duets and Lila Ammons to sing vocals on several choice songs as the musicians on stage rotated in configuration on piano. The stylish Lila is the granddaughter of Albert Ammons and her singing added a feminine dimension to the engaging performance.

The infectious selections of diverse material covered a colorful pallet of genres from Boogie Woogie bounce to Blues influences as well as Jazz vibes to R&B grooves plus enjoyable piano instrumentals showcasing the differing styles of Seely, Waters and Zwingenberger. Experiencing six seasoned hands transitioning across 88 keys apiece was musical mastery.

Zwingenberger, Watts & Green as a trio previously released The Magic of Boogie Woogie in 2010. With the exciting addition of Ben Waters, they christened themselves the ABC&D of Boogie Woogie. Now the prominent quartet is on tour in the Big Apple promoting Live in Paris, a live album recorded originally in 2010.

Ben Waters is a proud protégé of the late Ian Stewart. Stu formed the nucleus of The Rollin’ Stones with Brian Jones in the Spring of 1962. The Glimmer Twins of Jagger & Richards would soon join their R&B combo and the Stones career would begin rolling becoming legendary. 2012 is the British institution’s 50th anniversary and speculation is rampant that the gents have several surprises in store to share with their global fanbase later this year.

The Iridium Jazz Club, New York, June 30, 2012 setlist: Low Down Dog BluesUncle In HarlemWhat'd I SayMore Sympathy For The DrummerWomen Be Wise * Spinach * You Better Learn To Boogie Woogie * House Party Tonight Saint Louis BluesLet's Do The Boogie Woogie * Chicken Shack Boogie



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A Better Place Indeed: Glen Campbell

Thursday, May 24th, 2012 by The Professor

C&W legend Glen Campbell stands tall with courage and grace

by Radio RockonTour host Timothy Tilghman

Saying goodbye is never easy. Most times in life saying goodbye is a luxury many never have the chance to experience. Country & Western legend Glen Campbell now 76 is undertaking a final journey across the American landscape to entertain his legion of fans and provide them with an opportunity to enjoy his music live on stage for one more magical moment.

Glen Campbell was welcomed warmly by an enthusiastic crowd at the American Music Theatre outside historic Lancaster, Pennsylvania, on Monday, May 21, 2012. Only his diehard fans will know that Glen buoyed his music career as a touring musician in the surf music genre as bassist for The Beach Boys before striking out on his own as a successful solo recording artist in 1967.

Instant People appeared as both the opening act and as Daddy Campbell’s support musicians. Three of his younger children, Ashley (vocals, banjo & keyboards), Calvin (drums & guitar), and Shannon Campbell (vocals and guitar) demonstrated their collective talent and professional musicianship as an emerging young group and again on stage backing their iconic father.

Several of Campbell’s signature songs included “By The Time I get To Phoenix”, “Wichita Lineman”, “Rhinestone Cowboy”, and “Southern Nights”. Hearing Glen sing his classic tunes was priceless. Clearly demonstrating that he still has command of the stage, Glen sang a moving rendition of “The Moon’s A Harsh Mistress” with just the accompaniment of his keyboardist T.J. Kuenster who has supported him on the road for 35 years.

While impersonating the cartoon voice of Donald Duck, Glen displayed his comedic talents while having a little fun on stage as Proud Papa prepared to introduce his stunningly beautiful blonde daughter Ashley. Halfway through the show, they played the popular instrumental “Dueling Banjo” together. Ashley twanged away on banjo with Glen jamming on his electric guitar.

The concert repertoire, spoken transitions, and stage interaction were clearly choreographed to act as an instructional guide for Glen on stage. He delivered several accelerated guitar solos and choice vocal performances throughout the evening. Although the actual concert itself clocked in under 75 minutes in length, his loyal fans didn’t seem to mind whatsoever. The standing ovations and thundering applause indicated their admiration and appreciation for his presence in Lancaster was sincere.

Glen Campbell, American Music Theatre, Lancaster, PA, May 21, 2012 setlist: Gentle On My Mind * Galveston * By The Time I Get To Phoenix * Try A Little Kindness * Where’s The Playground Susie * Didn’t We * I Can’t Stop Loving You * True Grit * Lovesick Blues * Dueling Banjos * Hey Little One * Any Trouble * She Thinks I Care * The Moon’s A Harsh Mistress * Wichita Lineman * Rhinestone Cowboy * Encore: Southern Nights * A Better Place



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Times Square Residency: Mick Taylor Live

Tuesday, May 15th, 2012 by The Professor

Renowned guitarist Mick Taylor flirts his fascination with the Blues

– by Radio RockonTour host Timothy Tilghman

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Ace guitarist Michael Kevin Taylor triumphantly hosted a series of twelve performances in Times Square delivering fierce blues jams across six consecutive nights. As luck would bless those in attendance, a consensus of critical commentary has identified the first blistering set held on Saturday, May 12, 2012, as the outstanding overall appearance from MKT’s extended residency at the Iridium Jazz Club.

Taylor’s collection of stage musicians forming the musical muscle of his incendiary blues band included Jeff Allen on drums, Wilbur Bascomb on bass guitar, Arno Hecht on Saxophone, Max Middleton on keyboards, and Hamish Stuart as second guitarist. Almost half of Taylor’s choice in live material came from his excellent second studio album A Stone’s Throw issued in 2000.

No two setlists out of the twelve concerts were carbon copies of one another. Taylor decisively mixed up his selection in songs that he played for each individual show. The early Saturday crowd was treated to an impromptu rendition of “Alabama” off his self-titled debut solo album from 1979. However, Taylor’s unanticipated rearrangement of the 1968 Brian Jones bottleneck classic “No Expectations” as his singular encore was a surprise indeed.

Taylor got an early start as a star guitarist playing for John Mayall and The Bluesbreakers, assuming a lead guitarist position vacated by Eric Clapton who left to form Cream in 1966. By the summer of 1969, Brian Jones was ill-suited to continue rolling with the Stones and with Mick Jagger itching to tour the USA, a decision was reached between Jagger & Richards to replace Jones as guitarist in the R&B group.

Jagger turned to Mayall for advice on what to do and whom to choose. Mayall offered up his own 20 year old guitarist Mick Taylor as a replacement for Brian Jones. The change in Stones personnel was announced in June 1969. An unbelievable rumor suggests that Jagger phoned Ronnie Laine asking if Ron Wood would like to join The Rolling Stones with Laine responding in an affirmative ‘No’. Woody would not actually begin rolling with the Stones until their 1975 U.S. tour.

The Stones are presently idle having reached 50 years as a British Rock & Roll institution. Their cluster of albums released from 1969 through 1972: Let It Bleed, Get Your Ya-Ya’s Out, Sticky Fingers, and Exile On Main Street all featuring the fancy fret work of Mick Taylor, are considered to be the recording peak during The Rolling Stones five decade career. Many Stones fans continue to argue Taylor over Wood as the Stones better lead guitarist.

Mick Taylor appearing live in performance was an exceedingly welcome experience. Taylor’s guitar playing was both fluid and masterful. His scorching bottleneck blues jams alone were worth the price of admission to enjoy in an intimate venue. Mick’s voice was in fine form as well. Taylor exhibited exponential potential for his future musical career endeavors. Hopefully, Taylor is sufficiently encouraged to undertake a full-scale U.S. roadtrip to display his guitar gifts before an expanded American audience.

Mick Taylor, Iridium Jazz Club, New York May 12, 2012 setlist: Secret AffairTwisted SisterLate At Night * Fed Up With The Blues * AlabamaCan't You Hear Me Knocking * Encore: No Expectations (2nd set: Losing My Faith * Blind Willie McTell)



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